Category Archives: #nowplaying

Shy, Low

Some fun news for fans of post-rock and/or colored vinyl and/or flower arranging…

Shy, Low has repressed their 2015 gem Hiraeth, and they’re offering two snazzy colored-vinyl options: “Cowslip,” which is highlighter yellow with orange pinwheels, and “Forget-Me-Not” — a yellow-in-electric blue with white splatter design. Like the massive, cinematic music contained in the grooves, and like the floral cover art, they’re gorgeous. Take a look:

If I’m reading the Discogs descriptions correctly, my copy from the original run is the “Bell Heather” version — milky clear with a baby pink swirl. Is each variant representative of a flower depicted in the arrangement on the cover? Maybe? My ikebana has a long way to go.

I do know that it’s worth snagging copy over at Bandcamp before they’re all gone.

Update: The band shared the following via Facebook:

We also have some available locally and will have some for upcoming shows. Not many, so if you wait, you may lose out.

 

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Better Oblivion Community Center

A few words about “Chesapeake,” from the wonderful Better Oblivion Community Center album

Can’t stop/won’t stop listening to Better Oblivion Community Center, the collaborative LP from Phoebe Bridgers and Conor Oberst. I’m especially stuck on “Chesapeake,” the sixth of the album’s 10 tracks. It’s an elegant examination of how music is passed from one generation to the next, and how the things that connect us can eventually foster alienation. There’s definitely some bitter mixed in with the sweet here, but the first four lines may be the most beautiful love letter to music I’ve ever read, and they don’t even mention music:

The world will not remember when we’re old and tired
We’ll be blowing on the embers of a little fire
We were the tallest person watching in Chesapeake
You put me on your shoulders so I could see

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The Louvin Brothers

The Wisconsin wing of my family visited Richmond over the weekend, and — calendars be damned — we did a full-on simulated Christmas morning. Vince Guaraldi. Bacon. Bloody Marys. Presents. Snow on the ground. The whole deal. And as we all know, nothing says Christmas like unwrapping an album called Satan Is Real. I’d been on the lookout for a copy since I listened to the incredible Cocaine and Rhinestones episode about the Louvin Brothers. Turns out these Wonderful Wisconsinites™ had gotten me the coveted translucent red Light in the Attic pressing. You can really feel the hellfire when you hold it. A passage from the liner notes on the back:

The fiery setting pictured on the cover of this album was conceived and built by the Louvin Brothers themselves, using chiefly rocks, scrap rubber, and lots of imagination. The scene became a little too realistic, though, when Ira and Charlie were very nearly burned while actually directing the photography for this dramatic cover photo.

I can’t even. I love it so much. The (very bonkers) title track is embedded below. Take a listen:

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Jerry Hahn

A late-breaking New Year’s resolution: To say a little something on here about the records I pick up, whether it’s at one of the many wonderful record stores in town or at a thrift store, which is where I found this 1973 Jerry Hahn album called Moses. I had a good feeling about it based on the cover, though my guess was that it was somewhere in the realm of folk or American primitive acoustic guitar music. Nope — straight up jazz-rock, with exceptionally clean and quick guitar playing throughout, and more wah-wah than you can shake a Les Paul at. (The photo on the back cover is of Hahn with the classic Gibson model in hand.) There’s a great version of Miles Davis’ “All Blues” from Kind of Blue, though the highlight for me — and this comes as a surprise — is probably his version of Donavan’s “Sunshine Superman.” I’ve never had strong positive or negative feelings about the song, and I never thought the application of wah-wah would be such a selling point, but Hahn uses the effect with an uncommonly deft touch — like writing with a pen as opposed to a marker — making the most of the pedal’s ability to mimic the human voice. See what you think:

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VOTE

Big day today. I bet many of y’all have already voted, but for those of you who haven’t or are on the fence, I want to add my voice to the many I’m sure you’re hearing saying things like “Vote!” and “Please vote!” and “This could be the most important midterm election in our nation’s history, so for crying out loud, PLEASE VOTE.”

I’ve said it before and I’ll keep saying it: Democracy works best when all of us are involved. Your vote matters. You matter. Please vote.

For those in Virginia: Here’s the information I typically share about what forms of ID you can bring to the polls, this time in the form of a handy YouTube video:

For those of you who have already voted and are nervously awaiting results, I thought I’d share some self-care music to get you through the day. (I know I’m a nervous wreck, and I’m leaning hard on tunes like these today.) Courtesy of a Mark Richardson tweet, here’s Charlie Haden and Hank Jones playing “Going Home,” which is based on a passage from Antonin Dvorak’s Symphony No. 9.

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Matthew E. White

This. All damn day.

Listen below to Matthew E. White’s “No Future In Our Frontman,” a protest song that’s as blistering in terms of groove as it is in terms of commentary.

Here’s a taste of the latter:

There is no future in our frontman
There is no gracefulness to his song
There is no melody in his choir
And I refuse to sing along

I love this metaphor so much. Not only is it incredibly apt, it’s profoundly ironic, because it brings into relief just how devoid of art our president’s life must be. Can you imagine him engaging in the creative process in any way? He danced to “My Way” to celebrate winning a democratically held election, for crying out loud.

If you dig the song like I do, click here to snag a 7-inch vinyl copy and/or its companion t-shirt, which was designed by brilliant artist and musician Lonnie Holley, who recently released a powerful statement of his own on the state of our democracy. (If you’ve been following this here blog, you might remember Holley was the opening act for White’s 2017 show at the Broadberry with Flo Morrissey in support of Gentlewoman, Ruby Man.) Proceeds go to voter registration and participation charities. Great song, great cause. Check it out.

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Mighty Joshua

It recently hit me that I’m approaching a momentous tipping point: I grew up in Norfolk but moved to Richmond for college when I was 17, and that was nearly 17 years ago, so in a matter of a month or so, I will have lived in Richmond as long as I lived in Norfolk. It’s a weird thing to think about — especially at a time when I keep hearing about exciting changes taking place in Norfolk in recent years.

One of those recent developments is the NEON District, an intentionally drawn area of downtown where arts institutions, businesses, and events have coalesced to harness Norfolk’s creative energy. The Chrysler Museum, the Virginia Opera, the D’Art Center, Work | Release, glass working, tons of street art… taken together, these resources represent a tipping point of their own — a destination for visitors and a gathering place for folks in town. Really neat.

It also makes a pretty snazzy backdrop for an Overcoast Session. Longtime YHT readers might remember the Dharma Bombs’ Overcoast Session, which was filmed at the Carter Family Fold in association with Virginia Tourism. Their newest collaboration finds Richmond reggae artist Mighty Joshua serenading the NEON District with “Them A Watching,” from his self-titled 2013 album. Check it out below.

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